Embossed prints, on Eskulan paper, with accompanying text sheet.
Signed, dated, and numbered.
Co-published by Dorothea van der Koelen, Mainz and Edouard Weiss, Paris.
Literature: Van der Koelen, Dorothea and Martin (eds.): Günther Uecker - Opus Liber, Directory of Bibliophile Books and Works, Mainz 2007, Cat. No. L 0203, ill. pp. 507-511.
Graphein II, Shang Dynastie (2002) by Günther Uecker is an embossed print from his profound Graphein series, created on handmade Eskulan paper. The work presents a densely textured field of small, raised dots distributed in an undulating wave-like pattern, invoking tactile readings and meditative perception. The title refers to the Shang Dynasty, one of China’s earliest historical civilizations, evoking themes of ancient knowledge, script, and spiritual resonance. Uecker's minimalist, inkless approach emphasizes light and surface, encouraging viewers to engage with the piece through touch, shadow, and intuition. The visual rhythm of the dots resembles coded language or archaeological terrain, merging abstraction with historical depth. Published in an edition of 120 with additional artist’s copies, and co-produced by Dorothea van der Koelen in Mainz and Edouard Weiss in Paris, this print reflects Uecker’s ongoing exploration of memory, time, and the physicality of inscription.
Gunther Uecker (Germany, 1930) is a key figure in the ZERO movement. Known for his nail-covered sculptures and reliefs, he explores light, shadow, and texture in dynamic ways. His works, often interactive, reflect themes of nature, rhythm, and spirituality, making him one of Germany’s most innovative postwar artists.
EmbossingEmbossing is a technique used to create raised designs or images on a surface, typically paper. Artists achieve this effect by altering the shape of the paper, often by pressing it from the reverse side using a template and a tool like a sanded dowel. The result is a design with multiple levels of depth, giving a three-dimensional appearance.
Embossed prints, on Eskulan paper, with accompanying text sheet.
Signed, dated, and numbered.
Co-published by Dorothea van der Koelen, Mainz and Edouard Weiss, Paris.
Literature: Van der Koelen, Dorothea and Martin (eds.): Günther Uecker - Opus Liber, Directory of Bibliophile Books and Works, Mainz 2007, Cat. No. L 0203, ill. pp. 507-511.
Graphein II, Shang Dynastie (2002) by Günther Uecker is an embossed print from his profound Graphein series, created on handmade Eskulan paper. The work presents a densely textured field of small, raised dots distributed in an undulating wave-like pattern, invoking tactile readings and meditative perception. The title refers to the Shang Dynasty, one of China’s earliest historical civilizations, evoking themes of ancient knowledge, script, and spiritual resonance. Uecker's minimalist, inkless approach emphasizes light and surface, encouraging viewers to engage with the piece through touch, shadow, and intuition. The visual rhythm of the dots resembles coded language or archaeological terrain, merging abstraction with historical depth. Published in an edition of 120 with additional artist’s copies, and co-produced by Dorothea van der Koelen in Mainz and Edouard Weiss in Paris, this print reflects Uecker’s ongoing exploration of memory, time, and the physicality of inscription.
Gunther Uecker (Germany, 1930) is a key figure in the ZERO movement. Known for his nail-covered sculptures and reliefs, he explores light, shadow, and texture in dynamic ways. His works, often interactive, reflect themes of nature, rhythm, and spirituality, making him one of Germany’s most innovative postwar artists.
It’s about…creating… an instrument with which we can eat art.
- Gunther Uecker
Gunther Uecker (b. 1930, Germany) is a German artist renowned for his innovative contributions to kinetic art and Op art. He is best known as a key member of the ZERO group, a collective of artists who sought to redefine art in the aftermath of World War II. Uecker's work is characterized by his use of nails as a primary medium, creating dynamic, textured surfaces that interact with light and shadow. These nail-reliefs are both tactile and visually striking, embodying a sense of movement and energy. His explorations of light, shadow, and surface texture have made him a significant figure in post-war European art. Uecker's work has been exhibited in major museums around the world, including the Solomon R. Guggenheim Museum in New York and the Centre Pompidou in Paris.
ZERO was an art movement founded by Otto Piene and Heinz Mack, aiming to develop into a large international and cross-border movement. The name ZERO originated from a magazine founded by Heinz Mack in 1957, which became a platform for the group's ideas. The magazine was published for several years before ceasing in 1967. The ZERO movement sought to create a new beginning in art, emphasizing light, space, and movement, and became influential in post-war European art.